We've already established that Topper and Oliver have a lot in common, not the least of which are their stories of being hurt, causing them to hide away from the unpredictability of life rather than risk being wounded again. But what if they shared something even deeper, like Post-Traumatic Stress Disorder (PTSD)?

Think back to One In A Million, and that disastrous dinner date at Montaldo's that Oliver couldn't seem to stop from spiraling out of control. First he self-sabotages by referring to him and Shane and "just friends." Then he struggles to say the word "date," despite seeming to have every intention of making the word leave his lips. Towards the end of dinner, he starts to get hot, removing his jacket, as if the anxiety is threatening to overtake him, becoming more vulnerable in the process. It wasn't just a lack of love, power and a sound mind that debilitated him so, it was something much deeper than that.

As we saw in Lost Without You, Topper seems determined to break the threshold of the bike shop, only to be jarringly thwarted by the memory of the Embassy attack. But it isn't just Topper trying to get out of the bike shop that seems to trigger an episode, so do people trying to come into the bike shop. It's at that point that his little nephew both sees and removes Topper from the threatening situation, trying to "protect [Topper] from the bears."

Perhaps the siren sound puts too fine a point on the matter. But it serves a purpose---to highlight how, like Topper, Oliver, attempting to cross the threshold of his emotional boundaries in One In A Million, had his efforts abruptly and alarmingly stifled at the point of execution. It's particularly vexing given how Shane repeatedly attempts to give him the benefit of the doubt, even going so far as to allay his fears about the other men with whom she had shared dinner at Montaldo's, and even reassuring Oliver that "[she] only dances with [him]." Even at this junction he does himself the disservice of backtracking to the idea of "more [dance] practice," an activity directly connected to the earliest---and least intimate or romantic---stages of their relationship, yet another act of emotional self-defense. Yet the question remains: why couldn't Oliver stop self-sabotaging?

It isn't until Lost Without You that the true crux and depth of Oliver's struggle is finally revealed in the little boy always trying to "protect [his parents] from the bears," his heart always broken by the women who "truly mattered" in his life. Throughout the dinner in One In A Million, it's that same little boy trying to protect adult Oliver from "the bears," sounding the alarms and warning him to stop before he got hurt again, ultimately causing him to "bomb" what could have been an incredible evening.

Whether a catastrophic event or a prolonged history of heartbreak, both Topper and Oliver were profoundly impacted by their experiences, rendering each of them traumatized to the point it became a significant obstacle to their happiness.

Just a quick note to thank you for the in depth insight into Oliver and why Montaldo's went so wrong. Wow! And to think everyone we meet is going through battles we don't know about. A life lesson for us - compassion for those we know and meet. I need to be more like Shane and Jesus.

Wonderful post, Chandel! You explained so convincingly that just as Topper had a little nephew who steered him from the dangers in his post-war world, so did Oliver have an inner child on guard to protect him (when the emotional sirens blared) from being hurt again by a woman. Let’s hope that both men will find lasting healing now that both have been reunited with a faithful partner who understands.

While I was watching the video, I was reminded again of how intricate the stories are in Signed, Sealed, Delivered. Obviously Topper’s scenes in your excellent video are from LWY, yet all of Oliver’s scenes are from OIAM! His date with Shane in that film is intricately tied to LWY and the whole film takes on new meaning when viewed from the lens of PTSD introduced in LWY. And of course, the details have been laid as far back as the Pilot with each past episode/film working flawlessly together. We who read this blog and call ourselves the POstables so appreciate this richness which just isn’t present in any other TV series of which I am aware. Martha Williamson is truly a visionary and each film makes us more aware the excellence she brings to the table. Not only have we grown to love these characters and their stories, but we hunger for the light she brings to so many important life issues. And we’re grateful to you, Chandel, for being the voice of all the insight in this outstanding blog.

I hope the executives at Hallmark are fully aware of Martha’s storytelling genius and give her the platform in 2017 to continue her work. We live in a world where too many viewers want escape in films that solve a problem in two hours with a cute couple headed to the altar after a simple complication. These viewers get annoyed that kisses have been slow in coming for ShOliver. But POstables understand, appreciate the story’s intricacy and artistry, and cling to the truths revealed in every film. Quick and simple is not what we want. We want to see the beauty and promise in life despite its messy complexity, and SSD never disappoints in that regard.

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Amie

10/18/2016 04:54:32 pm

I second this! Perfectly stated.

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SSD Fan66

10/18/2016 05:43:20 pm

Interesting comment considering THE biggest producer of those "two hours with a cute couple headed to the altar after a simple complication" is the same Hallmark Channel that ALL fans of Signed Sealed Delivered are waiting on. Some of us enjoy the romantic metaphor of Shane's Everything Salad.

SSD Fan66, I do realize that the network who we hope will approve at least 4 or 5 new SSD films in 2017 makes a lot of two hour romantic comedies. HM does a great job with them and as a result, they are hugely popular. Most POstables were HM fans before SSD came along and still are. I just believe that SSD had created a niche audience for fans who want a more complete connection to character, story, message. SSD fits that equation for a million + fans. With two channels, the Hallmark Network has room for 208 film experiences a year at their prime 9 pm spot on Saturday and Sunday nights. As you suggest, variety is important and I don't think the HM executives will have trouble finding room to fulfill a request for more from Martha Williamsom from a loyal and dedicated group of viewers.

SSD Fan66

10/18/2016 09:38:09 pm

Yes I understand what you are saying, again. The characters are the creative property of MW and she can turn them both into dusty fossils if she wants. The everything salad refers to more than just variety. It also refers to "fresh" as opposed to something canned. When SSD hit HMChannel it was a breath of fresh air, delightful and invigoration. Is it in danger of becoming a dusty soap, rehashed again and again. It feels that way. I agree that LWY was a triumph in more than one way. Fans need/would like four or five more in 2017. I just hope they are fresh so that 2017 will lead into 2018. Etc. Why not? MW has very creative minds available to her.

An Appreciative Fan

10/18/2016 08:56:19 pm

Marybeth, you are exactly right. There isn't anything on HM or HMM or any other network that hits the same notes as SSD. It is unique. It is a gift. Surely there is plenty of room for the series to continue.

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blair

10/19/2016 02:43:54 am

I appreciate your insight and the way you lead us explore the deeper meanings of these stories. Martha and the cast are gifted and there is so much to discern that they are treasures for us to help us in our faith and everyday life.